The third act is introduced with a very free and animated soldiers’ chorus.  Azucena is dragged in and sings a plaintive lament for Manrico ("Giorni poveri").  Two duets follow, between Azucena and the Count, and Manrico and Leonora,—­the second worked up with beautiful effect by the blending of the organ in the convent chapel.  The act closes with the spirited aria, “Di quella pira,” for Manrico,—­a number which has always been the delight of great dramatic tenors, not alone for its fine melody, but for its opportunity of showing the voice and using the exceptional high C which is introduced in the finale of the aria.

The last act is replete with beautiful melodies following each other in quick succession.  It opens with a very florid aria for Leonora ("D’ amor sull’ ali rosee"), leading to the exquisite scene of the Miserere, “Ah che la morte,”—­a number which has never yet failed to charm and arouse audiences with the beauty and richness of its musical effect.  As the Count enters, Leonora has another powerful aria ("Mira di acerbe"), which in the next scene is followed by the familiar duet between Azucena and Manrico, “Si la stanchezza,” upon which Verdi lavished his musical skill with charming effect.  The last scene closes with the tragedy.  The whole opera is liberally enriched with melodies, and is dramatic throughout; but the last act is the crown of the work, and may successfully challenge comparison, for beauty, variety, and dramatic effect, with any other opera in the purely Italian school.

IL BALLO IN MASCHERA.

“Il Ballo in Maschera,” an opera in three acts, but usually performed in four, words by M. Somma, was first produced in Rome, Feb. 17, 1859.  In preparing his work for the stage, Verdi encountered numerous obstacles.  The librettist used the same subject which M. Scribe had adopted for Auber’s opera, “Gustavus III.,” and the opera was at first called by the same name,—­“Gustavo III.”  It was intended for production at the San Carlo, Naples, during the Carnival of 1858; but while the rehearsals were proceeding, Orsini made his memorable attempt to kill Napoleon III., and the authorities at once forbade a performance of the work, as it contained a conspiracy scene.  The composer was ordered to set different words to his music, but he peremptorily refused; whereupon the manager brought suit against him, claiming forty thousand dollars damages.  The disappointment nearly incited a revolution in Naples.  Crowds gathered in the streets shouting, “Viva Verdi,” implying at the same time, by the use of the letters in Verdi’s name, the sentiment, “Viva Vittorio Emmanuele Re Di Italia.”  A way out of his difficulties, however, was finally suggested by the impresario at Rome, who arranged with the censorship to have the work brought out at the Teatro Apollo as “Un Ballo in Maschera.”  The scene was changed to Boston, Massachusetts, and the time laid in the